Luis Gomes

Introduction

Portuguese tenor Luis Gomes graduated from the National Opera Studio and Guildhall School of Music & Drama, and studies with Rudolph Piernay. He is a Samling Scholar, and was a member of the Jette Parker Young Artist Programme at the Royal Opera House, Covent Garden. In concert Luis sang Rossini’s Petite Messe Solennelle in Rome with Antonio Pappano, La straniera at the Amsterdam Concergebouw with Giancarlo Andretta, Petite Messe Solennelle at De Doelen Rotterdam and the premiere of My Fatal Plurality at the Wigmore Hall. Recent opera highlights include Pong Turandot, Gastone La Traviata, Lamplighter Manon Lescaut, Chevalier de la Force Dialogues des Carmelites and Fenton Falstaff for the Royal Opera House, Don Ottavio Don Giovanni, Fenton and Nemorino L’Elisir d’amore with the Teatro Verdi Trieste, and Tebaldo I Capuletti e i Montecchi for the Buxton Festival. This season he returns to the Royal Opera House as Edmondo Manon Lescaut, and performs Rodolfo La bohème and Azael L’enfant prodigue for Scottish Opera.

Press

“Supporting performances were strong. Luis Gomes was a cheerful, open-hearted Edmondo, with a pleasant brightness to his tenor.”
David Karlin, Bachtrack

“Tenor Luis Gomes was an energetic, bright Edmondo, a strapping sidekick of sorts whose voice showed hints that he may soon be a lovely Des Grieux.”
Jena Douglas, Schmopera

“Of the smaller roles (despite its cast list, the opera is dominated by just a few parts), it was Jette Parker alumnus, the Portuguese tenor Luis Gomes … who impressed. He has the honour of opening the opera, singing on the pleasures of youth and impressed with his strong voice and force of character.”
Colin Clarke, Seenandheard international

“… [Romeo], challenged by Portuguese tenor Luis Gomes as his half-flaky enemy Tebaldo, whose thrilling top register places him at the epicentre of a volatile situation constantly teetering on the edge of open violence.”The Guardian, George Hall, 12 July 2016

“High notes were held and dispatched with ease, particularly in the always popular chunk from La bohème, “Che gelida manina… O soave fanciulla”, and both in this and the Tosti songs, he displayed a fine diminuendo. Fine phrasing was clear throughout and I was impressed with how much depth he was able to bring consistently to the programme without a great deal of familiarity. Rachmaninov’s song “Zdes’ khorosho” was particularly noticeable in this respect and he should be commended for his ease with the Russian, which is by no means the easiest language to sing clearly with little preparation. In short, we witnessed a level of consummate artistry which is unexpected in so young a singer.”
Bachtrack

“Gomes sang with a superb sense of line, and really caressed the phrases. He was often quite understated, knowing when to not do too much and when to really ramp things up.”
Robert Hugill, hugill.blogspot.co.uk

“Luis Gomes, gloriously agile in voice [is] well equipped for this difficult repertoire.”
Fiona Maddocks, The Observer, 26 October 2014

“Luis Gomes, big of voice, has a shiny tenor that suited the frustrated young husband Dorvil down to the ground.”
Simon Thomas, What’s on Stage, 24 October 2014

“Luis Gomes impressed as Dorvil easily traversing the usual high tessitura of a Rossini tenor role.”
Jim Pritchard, Scene and Heard, October 2014

“Luis Gomes as the secret husband Dorvil, was impassioned and played the role with a twinkle in his eye.”
Llyr Carvana, Opera Britannia, 26 October 2014

“Luis Gomes has real presence and an engaging tenor…he skilfully captures both the dashing hero and the figure who looks awkward as he is forced to descend to such ignominious depths as hiding under dummies that sport women’s frocks. He also makes the subtexts very clear to grasp as his mouth proclaims one emotion, but his darting eyes suggest another.”
Sam Smith, Music OMH, 25 October 2014

“Yann Beuron, sounding indisposed, here wisely handed over after the interval to his understudy Luis Gomes, who brought a ringing tenor to the Chevalier’s brief scene.”
Erica Jeal, The Guardian

“After the solitary interval (Acts II and III being played continuously) was prefaced by Kasper Holten appearing to inform us that Luis Gomes – a member of the current Jette Parker training programme and the official understudy – would continue in the role, which he did, excellently.”
Stephen Jay Taylor, OperaBritannia

“The other exciting debut was the Gaston of Luis Gomes. Far too often this potentially tiresome character cannot be wished away too soon but in the talented Gomes’ hands I actually wished he had more to sing. Already a potential Alfredo or even Rodolfo, Gomes is clearly destined for a glittering future. I can’t wait to hear him in bigger roles.”
Sebastien Petit, Opera Britannia

“Luis Gomes, whose Gastone was fiery, cheeky and superbly sung. This tenor, also a Jette Parker Young Artist, is really someone to look out for. He made a great impression on me and I can’t wait to see him in more substantial roles. What a character he is – absolutely a star in the making.”
Melinda Hughes, spearswms.com